The 10 Best Concerts in New York This Weekend, 9/19/14


For more shows throughout the weekend, check out our New York Concert Calendar, which we update daily.

Friday, 9/19:

The Replacements + Deer Tick + The Hold Steady
Forest Hills Stadium
6:30 p.m., $59.50
Chances are high that your favorite band’s favorite band is the Replacements. In the 1980s, the Minneapolis outfit put college rock on the map, influencing Gen X’s alternative taste and flavor for a style of punk more bitingly subversive than the last generation’s. Their influence has been so lasting and legendary that even Lorde has covered one of their songs, both as an early demo predating her success and as a current concert staple. Beyond the sheer rawness and originality of their tunes, the Replacements were known for putting on wild, raucous live shows and even got themselves banned from SNL just when they were on the brink of going mainstream. After reuniting for the first time in 22 years at Riot Fest in 2013, the Replacements have been steadily reclaiming their rep. — By Brittany Spanos

Devendra Banhart + Stephin Merritt + Iron and Wine
Brooklyn Academy of Music
8:00 p.m., $35
Devendra Banhart has made himself into a phenomenon, if not an out-and-out movement. This is in part aesthetics: Oddball lyrical imagery and a barefoot, big-haired, and psychedelic look do about equal work toward crafting his role in re-imagining modern-day folk. His music is gentle and weird and overarchingly American, despite the fact — and perhaps even because of the fact — that it dips into other cultures, languages, and eras with so much capricious delight. Banhart gave his first performances as a busker in San Francisco and a show opener in Paris before beginning to release albums in 2002. Credited as the force behind “freak folk,” Banhart experiments and improvises in his performances, always with an eye toward humor and fun. — By Carena Liptak

Sam Smith
Hammerstein Ballroom
8:00 p.m., $35
Sam Smith is a 22-year-old British soul singer whose music throbs with a pain and longing far beyond his tender years. Some of the chart-baiting of debut In the Lonely Hour lies in the depth-charging sincerity suffusing his voice as he begs a would-be paramour to ditch the lover, or admits, forthrightly, that he totally isn’t in love with someone he nonetheless doesn’t want to let go of. It’s dramatic and complicated — the kind of performative meta-puzzle fledgling careers are built upon. — By Raymond Cummings

Andy Stott + Function + Demdike Stare
10:00 p.m., $15-$20
Performing publicly as Function, Dave Sumner is now approaching two decades as a hallowed force in New York City’s electronic music culture. A member of the Sandwell District collective that was as responsible as any other group in re-asserting the artistic depth of dark techno in the mid aughts, Sumner recently relaunched his own Infrastructure New York label after more than 15 years of hibernation, while continuing to hold a residency at the famed Berghain club in Berlin. In the Panther Room, Sumner performs with Vatican Shadow in anticipation of their collaborative ambient record, Games Have Rules, forthcoming on Hospital Productions. The Mancunian Modern Love crew has a busy night next door at Output, with Andy Stott performing live under his own name and with Miles as Millie + Andrea, while Miles and Sean Canty both play solo DJ sets in addition to a live set of their storming Demdike Stare project. — By Aaron Gonsher

Wordless Music Orchestra
United Palace Theatre
8:00 p.m., $49-$99
Fans of Paul Thomas Anderson’s acclaimed film There Will Be Blood will be thrilled that the Wordless Music Orchestra is hosting two screenings of the film accompanied by a live rendition of the score. Fans of Ryan Adams and the original composer of the film’s score, Radiohead’s Jonny Greenwood, will be equally pleased that both musicians are part of the live orchestra. Adams conducts while Greenwood plays the ondes Martenot — essentially a 1920s electronic keyboard — in both performances. To top it all off, the film will be shown at the historic, stately United Palace Theatre, which is the second largest movie screen in all of New York. The 2007 feature traces the violence-ridden rise of a silver miner-turned-oil baron during the late-19th-century boom in Southern California. Loosely modeled after Upton Sinclair’s 1927 novel Oil!, it won three Academy Awards. — By Caitlin White

The Weeknd + Schoolboy Q + Jhene Aiko
Barclays Center
8:30 p.m., $39.50-$79.50
It’s next to impossible to make it through a Weeknd single without contracting at least one sexually transmitted disease. The confounding thing is, you’ll ultimately want more of what producer/singer Abel Tesfaye excels at: more VIP-booth accoutrements, more narcotized r&b-pop deliriums, more sweat-soaked designer sheets teeming with groupies and strippers, more drugs. Tesfaye has the odd gift of rendering sexual exploitation (of self and otherwise) appear wholly seductive and alluring and thoroughly creepy, the orgasmic be-all-end-all of modern fame. At his best, Weeknd opens a portal into the emotional wasteland such abandon yawns into; at his worst, he’s another leering opportunist. — By Raymond Cummings

Saturday, 9/20:

Stiff Little Fingers + The So So Glos
Irving Plaza
8:00 p.m., $22.50
For every avid music fan, the John Cusack film High Fidelity (or I should say, the Nick Hornby book) is a turning point. Dysfunctional dudes and their broken hearts have been the topic of indie rock forever, this narrative humanizing the experience as much more than just exclusive garbage. There’s a scene where Dick, the soft-spoken record clerk, flirts with a girl by telling her Green Day has a lot to owe to Stiff Little Fingers. He’s not wrong, of course. In fact, he’s very right: The band is the shot that started the pop-punk we’d all grow to love. Check it out for yourself with hometown heroes So So Glos. Hear that? It’s the sound of a million power chords. — By Maria Sherman

Jeff Goldblum & the Mildred Snitzer Orchestra
Cafe Carlyle
Friday & Saturday, 8:45 p.m. daily, $65-$155
Though he gigs regularly with this aggregate in Los Angeles, we haven’t seen this side of the top-drawer actor on our coast. He plays jazz piano as if it’s his first love and gabs freely as well. Mildred Snitzer is apparently an old Pittsburgh family friend whose moniker he’s appropriated. She’s definitely not the band singer. He does most of the singing his own hip self, although occasionally he invites guests to warble and scat along with him. And there’s an added come-on for you. — By David Finkle

Kronos Quartet + Natalie Merchant + Rhiannon Giddens + Sam Amidon + Olivia Chaney
Howard Gilman Opera House
8:00 p.m., $25-$65
Part of the BAM 2014 Next Wave Festival, the boundary-breaking Kronos Quartet demonstrates the breadth of its scope with two separate collaborations. On September 20, they join 10,000 Maniacs frontwoman-cum-folk chanteuse Natalie Merchant, Carolina Chocolate Drops lead singer Rhiannon Giddens, and rising folk stars Sam Amidon and Olivia Chaney to premiere classical crossover settings of folk standards. On September 23, Laurie Anderson reunites with Kronos for Landfall, a digital multimedia song cycle inspired by Hurricane Sandy and its aftermath, performing an act of excavation and rebirth that floods the senses with not only the pastness of the past, but its presence. — By Aidan Levy

Sunday, 9/21:

King Crimson
Best Buy Theater
Friday through Sunday, 8:00 p.m. daily, $60-$145
The eighth iteration since 1969 of skysaw guitarist Robert Fripp’s prog-rock playpen is a septet featuring a three-drummer front line, with Fripp, longtime bassist Tony Levin, saxophonist Mel Collins, and guitarist Jakko Jakszyk bringing up the rear. Early shows have been book-ended by “Lark’s Tongue in Aspic” and concentrate on early-’70s material, which is good news for hardcore fans of Crimson’s magic muscularity. — By Richard Gehr

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